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The supervisor of music often finds 
she must set the standards of pre- 
cision in musical speech. She is often 
alone in maintaining them. The 
grade teacher though trained to be 
discriminating in some things is 
usually not discriminating in the use 
of musical terms. Indeed, so much 
confusion in terminology is appar- 
ent, and so much haziness exists 
that it sometimes seems hopeless to 
give clear instructions to either 
teachers or pupils. 

Since all this is true, the state- 
ments from time to time of Chair- 
man Chas. I. Rice of the Committee 
on Terminology appointed by the 
Music Section of the N. E. A. have 
inspired me to be more exact and 
careful and have given me boldness 
to stand for some of the things which 
his committee has verified. 

So, since I am asked to mention 
some article or address which has 
been helpful, I wish to record my 
word of appreciation of the work of 
Mr. Rice and his committee. 

When the question is asked "Is it 
worth while?" I answer in the 
words of another, "The annual re- 
ports of this committee have set 
many of us thinking along certain 
new lines, and caused some of us, 
at any rate, to adopt in our own 
teaching certain changes of termi- 
nology which have enabled us to 
make our work more effective." 

A New Book on Conducting 

In Coward's "Choral Technique 
and Interpretation" (Novello & Co., 
London; H. W. Gray Co., N. Y.) 
there is scarcely a page that does not 
apply directly or indirectly to the 
music supervisor's work. This book 
of 333 pages is devoted entirely 

to an account of how he has se- 
cured such admittedly wonderful 
results with choruses of no more than 
ordinary ability. Since it is then 
essentially a personal narrative, the 
reader must not be too much sur- 
prised to find the pronoun "I" ap- 
pearing somewhat frequently; in- 
deed, he may well be pleased to be 
made definitely aware that this is 
really a bona fida account of how 
things have actually been done and 
not a mere treatise on how someone 
thinks they might perhaps be done. 

In answer to the question "What 
is the new choral technique?" Dr. 
Coward replies at the very outset 
that "It embraces all the splendid 
qualities, grand, rich tone, broad ef- 
fect and thrilling climaxes of the old 
style of choral singing, plus the more 
refined expression and greater dra- 
matic import demanded by the more 
advanced and much more critical 
audiences of today." 

He then summarizes these added 
attributes under six heads: 

1. Greater vocal control, this be- 
ing shown by homogeneity of tone in 
each group; variety of quality in- 
volving not only the white, the im- 
personal, the dark, the dull, and so 
forth, but also characterization of 
tone to exemplify the sob, the ex- 
clamation, the snarl, the laugh, and 
so forth. 

2. More refined expression, sudden 
contrasts, definite prominence and 
subordination of parts, etc. 

3. Better articulation, involving 
a. new kind of word and sentence 

4. More careful phrasing. 

5. A greater exaltation of rhythm. 

6. A systematic treatment of 
breathing so as to secure absolute 
control of breath pressure.